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中国文物即将在雅典卫城博物馆展出

  • 作者:蔡玲 吴佳丽
  • 来源:中希时报/希中网
  • 发布日期:2017-10-20
  • 浏览数:4423




    今年是中希文化交流与文化产业合作年。作为两国文化交流的一项重要活动,来自上海博物馆的两件重要文物将在雅典卫城博物馆展出。

展出的两件文物分别为清代“金陵八家“之一,吴宏所作的《清江行旅图卷》和春秋早期铸造的"子仲姜盘"。据悉,两件展品将于2017年10月28日在卫城博物馆展出,展出时间将持续至明年4月。




清 吴宏 清江行旅图卷

纸本设色

23.7厘米 横242.5厘米

 

吴宏(16151680),字远度,号竹史,江苏溧水人,居南京。自幼喜画,擅画山水,为清初金陵八家之一。

 

明代中期的吴门画派,代表了当时的最高成就,其后,以文徵明为代表的文派先后引领了画坛六十余年。然而,至明末,画坛出现了陈陈相因的习气,缺乏创造力,为时人诟病。

可喜的是,至清初,出现了以龚贤为首的活动于南京地区的八位画家,史称金陵八家。他们的画风,汲取吴门画派末期严重脱离自然与生活的教训,深入山川,感受生活,尤其是受到了南京一带气候湿度大、云气多的地理环境的启发,喜用墨色渲染,并取法宋人丘壑,画面有真实的意境,于清初画坛,呈现了一番新气象,具有积极意义。

八家之一的吴宏,便是其间的代表。一如是图,描绘深山巨壑、层峦耸竣之中,亭台楼阁掩映,栈桥舟船蜿蜒曲折,行人若隐若现,并洋溢出一派宁静祥和的气象,如入世外桃源,令人向往。画法上,充分体现了画家追溯宋人可望、可行、可居如入真山真水的审美追求,结构精谨,画法细腻,也印证了吴宏曾经北游黄河、体验大自然山川并受到启发,笔墨画风为之一变的艺术经历。

 

(凌利中)


 

Travelling along the ClearRiver

By Wu Hong

Handscroll

Ink and color on paper

Qing Dynasty (1644-1911)

23.7*242.5cm

 

Wu Hong(1615-1680), a native of Lishui living in Nanjing, is also known by his zi (designated name) Yuandu and his hao (literary name) Zhushi. Being skillful in landscape painting which he started to practice since his childhood, he is known as one of the "Eight Masters of the Jinling (ancient name of Nanjing)"Painting School in the Early Qing Dynasty.

Chinese painting in the middle of Ming Dynasty was dominated by the Wu School headed by Wen Zhengming, which exerted a 60-year-long influence on later Chinese painting. However, such conventional style was criticized for its lack of innovation by the end of Ming Dynasty.

Fortunately,the "Eight Masters of Jinling Painting School" leaded by Gong Xian brought some new features to the Chinese painting, which is closer to the nature and real life. Wu Hong, as a representative figure of them dwelling in Nanjing, painted the moist and cloudy landscape of the area with ink rendering in the style of the Song (960—1279) landscape painting.Thus a significant new painting style emerged in the early Qing dynasty.

This scroll depicts a peaceful land of mountains and rivers with cottages, pavilions, bridges, boats and human figures in the midst, as an ideal world or paradise called “shi-wai-tao-yuan” in Chinese. Looking at the meticulous structure and fine brushwork of the painting, we can see that the artist Wu Hong ongwas adhering the Song aesthetic stander for a realistic landscape painting which can be viewed as well as traveled and lived. He changed his painting style after being inspired by the scenery of the great nature on his trip along the Yellow River of northern China.

( by Ling Lizhong)




子仲姜盘

春秋早期高18厘米口径45厘米重12.4千克

叶肇夫先生捐赠

盘是盥器,商周时期在祭祀和宴飨时要举行净手之礼,需浇水于手,盘用于承接弃水。

这件盘方唇、折沿、浅腹,底接圈足,下附三卷尾虎支足。双附耳,附耳高出盘沿甚多;与附耳呈对角的位置另有双兽形鋬,曲角圆眼、四肢攀附器腹,口衔盘沿,作探水状。盘壁周饰中目突出的变形兽纹,附耳外侧装饰重环纹,内侧为素面;圈足饰垂鳞纹。盘中央立有一圆雕水鸟,依次向外同心圆周列,第一圈为浮雕的两蛙、两龟,第二圈为四条立体的鱼,第三圈为立体的4只水鸟间饰龟与蛙,第四圈为立体的三蛙与七只浮雕的鱼。最为奇特的是不论何种立体动物,都能在原处360度灵巧的转动,这是盘上铸有垂直的轴,上端卡在了动物体内,因此,既能转动,又抽不出来。此种艺术表现手法前所未见,在青铜器制作技术上堪称一绝,因此,这件青铜盘是极其罕见的珍品。

盘内壁铸有铭文三十二字,内容记载大师为其夫人子仲姜作此盘,盘既大且好,用来祈求长寿。青铜器上的文字称为金文,又称铭文。金文主要见于公元前16-3世纪商周时期,是中国目前所见最早的有系统的成熟文字之一。金文的内容主要记录了王室、贵族的各种祭典、征伐、赏赐、授职、盟誓等,是中国历史的重要载体,也是研究中国早期文明的重要史料。(韦心滢)

 

Pan of Zi Zhong Jiang

Early Spring and Autumn Period

height 18cm, diameter 45cm, weight 12.4kg

Donated by Mr. Sunny Yip

 

In the Shang and Zhou period, pan is a kind of water vessel to hold used water by hand washing before ritual ceremony and banquet.

 

This broad water vessel has a shallow belly with a protruding rim of an orthogonal edge. Three tiger-shaped legs under the ring foot support the whole body. Two handles towering above the body, while two horned dragons cling to the opposite sides with their heads just above the rim. It seems that the starring dragons are intended to get into the water with their mouths biting the edge.

 

The outside of the vessel is decorated with deformed zoomorphic patterns, the upturned handles with double ring patterns and the ring foot with scale design. The decoration on the inside is very unique. It has a three-dimensional water bird standing in the center, and from center to edge are a circle of two high-relieved frogs and turtles, a circle of four three-dimensional fish, a circle of three-dimensional water birds alternating with high-relieved turtles and frogs, then a circle of three three-dimensional frogs with seven high-relieved fish. The most interesting thing is that all these mini sculptures can revolve freely with an axes fixed under the sculpture and the basin bottom. This innovative decoration is very unique among bronzes of the period. Therefore, this Pan basin from the Shanghai Museum is truly a rare masterpiece of Chinese bonzes.

 

The inscription on one side of bottom is of thirty-two characters in six lines, which states that this large-size and good quality basin was made by an official of the Jin State for his wife Zi Zhong Jiang with a good wish of longevity.

 

Bronze inscriptions called “metal inscription” as well emerged during the Shang-Zhou period of 16 - 3 century B.C. It is one of the earliest written Chinese language with a matured system. Inscriptions on bronze wares generally record important events of royal families and nobilities, such as ritual ceremonies, battles, awards, investitures, oaths of alliance. Therefore, bronze inscriptions is an important carrier of Chinese history, and also valuable materials for study of early Chinese civilization.

 

(by Wei Xinying)